Alvaro Barrington: Garvey 2- They eyes were watching God — at Corvi-Mora

Alvaro Barrington
Garvey 2- They eyes were watching God
Corvi-Mora
1a Kempsford Road (off Wincott Street), London,
December 04 – January 23, 2021
All images copyright and courtesy of the artist(s) and Corvi-Mora

Tommaso Corvi-Mora presents a solo exhibition of new work by Alvaro Barrington, his first at the gallery.

Artist statement:

My homie Shellyne said that the hood lives in a type of broken Baroque
June said that after lockdown she thinks we might enter an age of minimalism
Bridget said we should have done more to protect Lauryn we let people call her crazy when she was standing up for herself and standing up the working poor…
I was just listening to the NY times daily skipped over the podcast where they advocating for us to stay in Afghanistan after 18 years of bombing folks
Listened to the episode with AOC made me think damn i hope she got the support she needs crazy to think how middle-upper middle class-liberals tell her to shut up for advocating for the working poor Sometimes i wonder why the generation above us hate us so much maybe doughboy was write
I remember Pac said I wonder why we take from out we women do we hate our women.
Somedays i want to apologize to all the woman i aint stand by when they needed me
I think they all got a point

Alvaro Barrington (b. 1983 Caracas, Venezuela) was born to Grenadian and Haitian parents and was raised between the Caribbean and New York. His practice explores interconnected histories of cultural production. The current exhibition belongs to the “Garvey” series, which examines the cultural exchanges of early 20th century London and the Harlem Renaissance— both sites of large-scale migration from the Caribbean at the height of Modernism – and their ongoing influence on contemporary artistic output and notions of self- hood, sexuality, the soul, identity, nurture, nationality, punishment and death. Considering himself primarily a painter, Barrington’s multimedia approach to image-making employs burlap, textiles, postcards and clothing, exploring how materials themselves can function as visual tools while referencing their personal, political and commercial histories.